Su Shi's life, works and celebrity stories.

Su Shi (1037 ~1101) was born in Meishan, Meizhou (now Sichuan). His family has a rich literary tradition, and his grandfather Su Xu is good at reading and writing poems. My father, Su Xun, is a famous writer of classical literature in China. He gave careful guidance to Su Shi and his younger brother Su Zhe. His mother, Shi Cheng, is knowledgeable and well-informed. When she was a child, she told Su Shi about the Biography of Fan Pang in the later Han Dynasty, encouraging her son to strive for honor with the deeds of the ancients. When Su Shi left Sichuan for Beijing at the age of 2/kloc-0, his knowledge and accomplishment were quite mature.

Su Shi is knowledgeable and knowledgeable, and he is like a duck to water in the ideological atmosphere of the integration of the three religions in the Northern Song Dynasty. Su Zhe described Su Shi's reading process like this: "Jia Yi and Lu Zhi wrote a good book from the beginning, discussing how to control chaos in ancient and modern times, not empty talk. After watching Zhuangzi, I sighed and said, "I have seen it in the past, but my mouth failed to speak. Seeing Zhuangzi today won my heart! ..... after reading Shi's book, I understand the reality deeply, and I can learn from the old and speak freely, but I can't see my own limits. Su Shi not only accepted Confucianism, Taoism and Buddhism, but also thought that they were interlinked. He once said that "Zhuangzi helped Confucius", and Zhuangzi's attitude towards Confucianism was "Yang crowded out Yin to help" (Zhuangzi Ancestral Temple). He also believes that "Confucianism, Buddhism and Taoism coincide with each other" and "on the contrary, they serve each other" (the inscription of the elders in South China). This thought, which is based on Confucianism and integrates Buddhism and Taoism, is the philosophical basis of Su Shi's outlook on life.

Su Shi followed the Confucian political ideal of governing the country and helping the people. At the age of 22, he was a scholar, and at the age of 26, he won the third class merit (the highest in the Song Dynasty). After he became an official, he tried to become a useful person to the world. He is open-minded, pays attention to honesty, is interested in reforming state affairs, and dares to say and do it. Wang Anshi was opposed to the implementation of the new law because he paid attention to the actual effect of the policy. Sima Guang held different opinions when he abolished the new law, and the result was repeatedly rejected. When he was abroad, he was diligent in political affairs and tried his best to do more practical things for the local government. He has served as a local official in Hangzhou, Mizhou, Xuzhou and Huzhou, killing locusts for disaster relief and building dikes to fight floods, with outstanding achievements. Even after being demoted to Huizhou, he donated two bridges. As long as the environment permits, Su Shi always tries his best to make a difference. However, Su Shi's career was bumpy all his life, and he was repeatedly relegated, failing to fully display his political talents. At the age of 44, he encountered the "Wutai Poetry Case" and was in danger. In his later years, he was demoted again and again until Hainan, a remote place, ate taro and drank water, and lived a hard life with the Li people. Su Shi is not insensitive to suffering, nor is he resigned to the persecution imposed on him. Instead, it treats successive misfortunes with a brand-new attitude towards life, organically combines the ideas of Confucianism's perseverance, Lao Zi's contempt for the transcendence of limited time and space and material environment, and Zen's attitude towards all changes with a normal heart, thus achieving the purpose of despising ugliness and dissolving pain. This life paradigm, which is persistent in life and detached from things, contains a firm, calm, optimistic and broad-minded spirit, so Su Shi can still maintain his keen interest in life and exuberant creative vitality in adversity.

Su Shi suffered two serious political persecutions in his life. For the first time, at the age of 45, he was demoted to Huangzhou for the "Wutai Poetry Case" and lived there for four years. The second time, he was banished to Huizhou at the age of 59, banished to Danzhou at the age of 62, and returned to the north at the age of 65. He was exiled for six years. Before he died, Su Shi wrote a self-titled portrait, saying, "Ask your career, Huangzhou, Huizhou and Danzhou." As far as his political career is concerned, this remark is of course self-deprecating. But for the writer Su Shi, his great achievements were indeed established in the adversity of repeated exile. Although Su Shi enjoyed a long reputation in the literary world and was later demoted to Huangzhou, he was afraid to write more poems for fear of disaster, but the Huangzhou period was still a peak of his creation. Prose such as Fu on the Red Wall before and after, poems such as Two Cold Dishes Rain, and famous works such as Niannujiao Chibi Nostalgia were all created at this time. When Su Shi was relegated to Danzhou, Huizhou, he was already a weather-beaten and dying man, but his creative passion remained undiminished, and he entered a new realm of profundity and beauty in art. His relegation career made Su Shi have a deeper understanding of society and life, and also made his creation show his inner emotional waves more profoundly. In the Song Dynasty, some people thought that Su Shi's demotion to Hainan was not unfortunate, but that adversity was the time that made this literary genius.

Natural and eclectic artistic spirit, good at renovating the perfect combination of narrative, lyric and reasoning functions of argumentative essays.

Su Shi's literary thought pays equal attention to literature and Taoism. He spoke highly of Han Yu's and Ouyang Xiu's contributions to ancient Chinese prose, and thought that Han Yu's Eight Dynasties' Literary Decline, Daoji Lost in the World (Chaozhou Hanwen Gongci Monument), Ouyang Xiu's On the Avenue Like Han Yu and Memories Like Sima Qian (Stories of June 1) all paid equal attention to both literature and Taoism. However, Su Shi's views on literature and Taoism were very unique in the Northern Song Dynasty. First of all, Su Shi believes that the art of the article has independent value, such as "fine gold and beautiful jade, which is valuable in the market". The article is not only a tool to carry the Tao, but also an advanced form of human spiritual activities: "Things are rational, suffering from ignorance, and suffering from knowledge cannot be spoken." Secondly, the "Tao" in Su Shi's mind is not limited to the Confucian Tao, but refers to the laws of things in general, for example, people living in the sun and water "have the Tao of water" (Japanese metaphor). Therefore, Su Shi advocates that articles should be as natural as the objective world, with a natural attitude. He advocated the diversity and vividness of artistic style, and opposed the unification of literary style, believing that it would make the literary world as barren as "yellow hair and white reed".

It is under the guidance of this unique literary thought that Su Shi's prose presents rich and colorful artistic characteristics. He absorbed artistic nutrition extensively from his previous works, the most important source of which was the heroic momentum of Mencius and strategists in the Warring States Period, Zhuangzi's rich association and natural and unrestrained writing style. Su Shi said to himself, "My writing is like a fountain of thousands of miles, which can be found everywhere, and the flat ground is easy to flow. It twists and turns with rocks, shapes with things, and is unknown. What is known often depends on what it does and often stops at what it can't stop. " (Self-evaluation) His self-evaluation is consistent with the reader's feelings. Su Shi is really expressive, and there is almost nothing objective or inner feelings that his works can't express. Su Wen's style changes freely with different objects and is as natural and smooth as running water. Han Yu's ancient prose relies on eloquence, layout and momentum to achieve the same goal, while Su Wen relies on a contented and thoughtful way. Su Wen is full of energy, but his language is simple and natural, which is one of the characteristics that Wen Song is different from Tang Wen.

Su Shi is good at writing argumentative essays. His historical essays written in his early years have a strong habit of strategists, sometimes pretending to be amazing and unreasonable. For example, On Jia Yi accused Jia Yi of not knowing how to make friends with ministers in order to win the trust of the court, and On Fan Zeng suggested that Fan Zeng should be the righteous emperor who killed Xiang Yu. But there are also many original opinions, such as "On Hou", which advocates that the old man was a hermit in Qin Dynasty, and humiliation is to cultivate his perseverance; On Wang Ping criticizes Zhou Pingwang's blunder in avoiding bandits and moving the capital, which is novel, profound and enlightening. These historical theories are good at randomness, amazing in writing, showing a high degree of argumentation skills, and became the model essays for scholars at that time, so they spread widely. Su Shi's political essays in his early years also had similar stylistic features, but with the deepening of his experience, the habits of strategists gradually weakened. For example, some narratives written after Yuan You have strong pertinence and calm words, which are close to the styles of Jia Yi and Lu Zhi.

Although the historical and political theories show Su Shi's extraordinary talent, essays, letters, prefaces and postscripts can better reflect Su Shi's literary achievements. These articles are also good at renovation, but the form is more lively and the discussion is more vivid, often mixed with narration and lyricism. They strengthen logical persuasion with artistic appeal, so they are more beautiful than historical and political theories. For example, two metaphors in Japanese Yu:

He who is born afraid doesn't know the sun, but he who asks with his eyes knows it. Or tell him, "The sun is like a copper coin." Pull the plate and listen to its sound. He smells the clock every day, thinking it is also a day. Or tell them, "sunlight is like a candle." Get its shape by touching the candle. One day, I think it will be tomorrow. The sun is far away from the clock and the clock, so those who are afraid of it don't know the difference, and those who ask for it have never seen it.

There are many people in the south, and the sun and water live together. At the age of seven, they can swim, at the age of ten, they can float, and at the age of fifteen, they can float. If you don't have a husband, you will be sad, and someone will get the way of water. Live with water, and you will get the Tao at fifteen. If you don't know water, you will be afraid of boats if you are strong. Therefore, the brave in the north don't ask anyone, but ask them why not. In their words, there is no river that does not drown. Therefore, those who seek the Tao without learning are those who learn from the North.

This paper demonstrates that the understanding of things cannot rely on one-sided knowledge, and only through practice can we grasp the truth of the laws of things, and the reasoning is very thorough, but its reasoning is displayed through vivid examples or images, so giving readers a deep impression and vivid images can not only make people gain intellectual understanding, but also bring aesthetic pleasure.

Another example is the story of Wen and Painting Bamboo. On the one hand, it describes the situation of Wen and Painting Bamboo, on the other hand, it recalls his close contacts with Wen and Ke and his sadness after Wen and Ke's death with emotional brushstrokes, which has a strong lyrical meaning. From Wen's and Ke's creative experience, this paper sums up the law that artistic creation should be well thought out, which is also an example worthy of narration and discussion.

Su Shi's narrative notes wandering prose, narrative, lyricism and discussion are well combined. "Shi Zhongshan Ji" is a travelogue which focuses on discussion. It focuses on the origin of Shi Zhongshan's name, corrects predecessors' statements according to what he saw and heard at the scene, and leads to the philosophy that you can't "guess whether something exists" without seeing and hearing with your own eyes, with clear thinking and thorough argumentation. What is particularly valuable is that this article is gradually developed in the beautiful artistic conception of scene blending, such as writing a moonlit boating to see the mountains:

At dusk in jathyapple, Michael and I came to the cliff by boat alone. The stone stood on one side, like a wild animal and a strange ghost. They wanted to fight with people. Storks perched on the mountain, people's voices began to ring, and they suddenly flew into the clouds. Some people laugh in the valley if the old man is old, or say, this stork is also. Yu Fang anxious to return, but he made a loud sound on the water, which was like a bell and drum, and the boatman was afraid.

A few strokes outline a beautiful and gloomy realm, which seems to be immersive when read, and the author's feelings of exploring the mysterious, being pragmatic and seeking truth are fully displayed. The description of scene blending directly cooperates with discussion, which is a model of perfect combination of narrative, lyric and reasoning.

Because Su Shi's composition is based on the principle of "what he says must be done", he should do what he should do, stop when he should, and say few words and sentences, which is most prominent in his notes and essays. For example, "Paradise Night Tour":

On 20061October 12, Yuanfeng undressed at night, entered the house in the moonlight and set off happily. People who have nothing to do go to Chengtian Temple to find Zhang Huaimin. People didn't sleep, so we walked in the yard together. The courtyard is as empty as water, and the water is full of algae, bamboo and cypress. What night is there no moonlight? Where is there no bamboo and cypress? It's just the lack of free people like us.

The full text is only more than 80 words, but its artistic conception is detached and its charm is meaningful. It is a wonderful work in the Song Dynasty.

Su Shi and Si Liu also made great achievements in their ci and fu. His Ci and Fu inherited Ouyang Xiu's tradition, but it was more integrated with ancient prose and absorbed the lyrical meaning of poetry, which made Zhao You better than Lan, and created famous works such as Fu on the Red Wall and Fu on the Back Red Wall. Red Cliff Fu follows the traditional question-and-answer mode of subject and object, restrains the object, extends the subject, expresses its own philosophy of life, and describes the beautiful scenery of the Yangtze River on a moonlit night. It is a beautiful prose poem, which is full of prose and scenes. For example, a scene:

The breeze blows gently and the water can't reach the surface. Raise a glass to propose a toast to one's companions, recite articles related to the moon, and sing praises to chapters. Not long after, the moon rose from Dongshan and hovered between the Big Dipper and the cow. Milky white fog across the river, clear water. Let the boat float on the boundless river and cross the boundless river. Vast and boundless, I don't know how to stop at the virtual wind, floating independently, I am a fairy.

Beautiful and clear scenery and relaxed and happy mood constitute an open and clear artistic realm, and that vague and illusory feeling directly paves the way for later writing beyond the philosophy of life, which embodies the author's superb expression ability and language skills.

Su Shi's flowing style is even reflected in forty-six. When he was in imperial academy, the composition of imperial edict was rich and magnificent, which was rare among Taige figures. After he was demoted, the expression he wrote was even more real and touching, which was a rare temperament work in CET-4 and CET-6. Such as "Thank you for moving to Ruzhou Table":

Only self-pity, life sent to the rivers and lakes; In shock, Lin swam in the middle. Haggard and inhuman, puffed up lost his ambition. My wife snickered, but my relatives and friends broke up. After years of illness, everyone was declared dead; Hunger, cold and exposure to the hot sun made me tired of the rest of my life.

Su Shi's prose is as famous as Ouyang Xiu and Wang Anshi in Song Dynasty, but from the literary point of view, Su Wen is undoubtedly the most accomplished one in Song Wenzhong.

The spirit of intervening in society, thinking about life and being optimistic and broad-minded skillfully uses artistic skills, which transcends the artistic style of combining rigidity with softness in Song poetry.

Su Shi is honest and straightforward. He once claimed: "Words come from the heart and rush to the mouth; Words spit, words turn against people. I thought I'd rather fight someone else and spit it out. " Therefore, Su Shi's views on social reality and thoughts on life are undisguised in his literary works, among which poetry is the most incisive. In more than 2,700 Su poems, the theme of intervening in social reality and thinking about life is very prominent.

Su Shi's attitude towards various unreasonable phenomena in social reality is "out of date", and he always regards criticizing reality as an important theme of his poems. He has worked as a local official in many counties and knows the people's feelings well. He often writes about the folk sufferings he has heard and witnessed in his poems. For example, he writes about the farmers who suffered from locusts in the north: "There was a drought in the East for three years, and his family fled, even in Gai Lou. The old farmer sighed with hunger and pain and began to cry. " (Except for the heavy snow at night, if you stay in Weizhou, it will turn from sunny to snowy), and write about the people under the flood in the south: "Alas, the people of Wu and Yue have been swallowed up by the rivers and lakes for a long time. The official is not satisfied with Li Yuan. " At that time, taxes were very heavy, and the low grain cost hurt farmers, and the burden of foreign currency was also on farmers. They worked hard to harvest grain, and it was difficult to cope with the government's levy: "Today, officials want money, not rice, and northwest Wan Li recruits Qiang people. Palace is more bitter in the imperial court, but it is better to be a Hebo woman! " (Wu Zhongtian Fu Tan)

What is more valuable is that Su Shi's criticism of society is not limited to the New Deal or the present. He criticized the long-standing abuses and bad habits in feudal society, and embodied a deeper critical consciousness. For example, Li wrote in his later years:

A fly in ten miles, a fire in five miles. I know they are plum branches and longan. Flying over the mountains and seas, the leaves and branches of the wind are as fresh as new ones. As soon as the beauty in the palace broke her face, she was shocked by heaven and man, and her blood spilled for thousands of years. Yongyuan Litchi came to Jiaozhou, and Tianbao Niangong took it. So far, I want to eat Fu Lin's meat, and no one has been there. I hope god has mercy on the child, I won't get sores. Rain is good for gold, but people are not hungry or cold. Look at the millet buds by Wuyi Creek, which grow in front and grow in cages in Cai Xiang. Strive for new pets, each with his own plans, and strive for official tea this year. What does my king lack? What a shameful mouth! Luoyang Xiang Jun loyal family, pity also into Yao Huanghua!

From the tribute litchi in the Tang Dynasty to the tribute tea and flowers in the Song Dynasty, he sharply mocked the courtiers' flattery and the extravagance of the court. Su Shi still dares to be angry and scold in his later years, which shows how persistent his critical spirit is!

Su Shi's life was ups and downs, and he traveled everywhere, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. In his eyes, the ordinary life content and natural scenery all contain profound truth, such as two poems: "Topic Xilin Wall" and "He Zi You Mianchi Nostalgia":

Looking at Lushan Mountain from the front and side of peaks and valleys, from far, near, high and low places, Lushan Mountain presents various faces. I can't recognize the true face of Lushan Mountain because I am there.

What is life like everywhere? It should be like Hong Fei stepping through the snow. Fingers and claws were accidentally left in the mud. What did Hong Fei do? The old monk is dead and has become a new tower. There is no reason to look at the old topic with a broken wall. Remember the rugged past? The road is long, and the donkey hisses.

In these poems, natural phenomena rise to philosophy, and the perception of life is also transformed into rational thinking. What is particularly commendable is that the philosophy in poetry is naturally expressed through vivid and distinctive artistic images, rather than through logical deduction or discussion and analysis. This kind of poem is both beautiful and interesting, worthy of the name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became a popular idiom as soon as they came out, which shows that Su Shi's reasonable poems are widely loved. There are many similar works in Su Shi's poems, such as the Sangha Pagoda in Sizhou, the rain on the lake after the Qing Dynasty, and the wind control in Cihu. Su Shi is very insightful, so he can find wonderful ideas everywhere.

Deep life thinking makes Su Shi hold a calm and broad-minded attitude towards ups and downs, which is fully reflected in Su Shi's poems. Su Shi's poems in adversity, of course, contain pain, resentment and depression, such as two poems "Cold Food and Rain" written by Huangzhou, which describe the life dilemma of "boiling cold dishes with empty water and burning reeds with broken stoves" and the mentality of "the door to the monarch is deep and the grave is in Wan Li". Su Shi's more poems show contempt for and transcendence over suffering. Huangzhou, a barren city surrounded by mountains and water, was described by him as "a great river around the country knows the beauty of fish, and bamboo shoots in the mountains are fragrant" ("Arriving in Huangzhou for the first time"), while the rocky slope was written as "Don't worry about finding the right path at the top of the slope, but love the sound of dragging sticks" ("Dongpo"). Lingnan is far away, and the ancients regarded it as a road of fear. Han Yu was relegated to Chaozhou, and Liu Zongyuan was relegated to Liuzhou, and most of his poems were based on sadness. However, when Su Shi was relegated to Huizhou, he wrote a poem saying: "There are 300 litchi branches a day, and when he grows up to be a Lingnan person, he will never turn back." ("Two Lychee Branches" (the second part) and demoted Danzhou, saying: "Who wrote geography in its year? Zhenwu Township, Wan Li, Hainan. " ("I went to Hainan, and my son is from Leizhou. I was ordered to go, and I didn't know each other. Wu Zhi heard that it was still on the vine, and it was time to catch up with it. The core of this optimism and open-mindedness is a firm belief in life and a fighting spirit that does not yield to bad luck. Therefore, Su Shi's poems in adversity are still magnificent in style, and there is no disease of fatigue and depression, such as "Crossing the Sea Night on June 20":

On the third night, the bitter rain will eventually clear up. Who decorated the clouds and the moon? Natural beauty and clarification of ocean colors. In his spare time, Lu Zuo used music to get a general understanding of Xuanyuan's music. I don't hate the narrow escape in the south, so I will travel wonderfully all my life!

This is what Su Shi did when he came back from Danzhou to forgive the north, showing his pride in overcoming darkness and his broad-minded attitude of humiliation.

Su Shi has profound knowledge, mastered the artistic skills of poetry to the point of perfection, and has an amazing spirit of innovation in treating artistic norms. The metaphors in Su Shi's poems are vivid, novel and endless. For example, "It rains more in the spring cup than in Luowan" (South Garden), "Competing with each other for the first time" (Painting by Wang Wei and Wu Daozi), "If you want to know the end of your life, you are like a snake. The scale is not half, who can cover it? " (Shousui) As we all know. Another example is The Hundred Steps Flood, in which seven metaphors are used to describe running water: "It's like a rabbit walking on an eagle and a horse betting on a steep slope. The broken string is released from the column, and the flying electric ball is overturned. " Really made a wonderful metaphor. Su Shi's reading of thousands of books is influenced by the times. Because there are too many allusions, he is sometimes criticized by later generations, but in most cases, Su Shi's allusions are safe, accurate and logical, which achieves the beauty of water with salty taste. For example, he wrote a poem to comfort Li Zhi, who came last, and said, "Throughout his life, he talked about the ancient battlefield and fascinated his grandchildren." It can be called an exquisite example of allusion. The antithesis in Su Shi's poems is exquisite and lively, and his intention is to break the routine. For example, "I like dreaming in the distance, but I am afraid of crying in the place name" ("I entered Jiangxi at the beginning of August 7 and crossed the beach in fear") and "I died of old age after three passes" ("Yongle Wen's elder has died"), which is new and unconventional. It is precisely because Su Shi's mastery of metaphor, allusions, antithesis and other techniques has reached a state of perfection that he can transcend his skills and write poems without any traces of exercise. For example, "The first time I met Hu Aishan in Yingkou was the day I arrived in Shouzhou":

Our river bank goes to the river and sea day and night, and the maple leaves grow and grow in autumn. Long Huai suddenly sees the sun, and the castle peak boat is low for a long time. Shouzhou has seen the White Stone Pagoda and has not turned to Huangmaoshan. The waves were calm and the old man stood in the smoke for a long time.

Seemingly plain but shocking, seemingly loose but concise, there are almost no specific techniques in the poem, because its artistic pursuit is focused on the whole.

Zhao Yi, a poet in A Qing, commented on Su Shi: "The pen of nature is as cool as a sad pear, as fast as a scissors, and it has the feeling of hiding. It is everyone after Li and Du." Indeed, the expressive force of Su Shi's poems is amazing, and there is no theme that Su Shi's poems can't contain. It is common to take photos and fetch water to make tea in the stream, but Su Shi wrote, "There are so many rows that I have to frown. Scattered into hundreds of Dongpo, instantly here "("Pan Ying "); "The big ladle stores the moon in the spring urn, and the small ladle divides the river into night bottles" (Yoshioka Fried Tea), which is particularly vivid and interesting. For example, he only used the phrase "three-foot-long shin pavilion is thin" to vividly draw the listless and lean state of the sick crane. He told the legend that "there is a pond in Huizhou, and there is a jiaozi hidden in the pond" ... the tiger drinks water on it, eats jiaozi's tail and floats on the water ",and he only used the cross of" There is a hungry jiaozi in the diving scale and a thirsty tiger in its tail "to write the whole story. Even if it is a difficult subject, Su Shi's works can often turn the difficult into the easy and lift the weight easily. For example, "Continued Two Supplements" recites a painting "My wife is not lying on her back" by Zhou Fang, a painter in the Tang Dynasty. How to describe the back of a beautiful woman? Su Shi first put pen to paper from the imaginary place and inferred the beauty of the people in the painting: "Teach you to look back and you will smile." Then he imagined this beauty as a figure that Du Fu saw from afar in Qujiangtou. Finally, he used the story of folk couples as a foil to lament the misfortune of the beauty in the palace. I want to go to heaven and earth, but I am to the point and show my extraordinary ability to control the subject matter.

Su Shi, like his literary theory, also advocates eclecticism in poetic style. He once imitated the poetic styles of Tao Yuanming, Li Bai, Du Fu, Han Yu, Meng Jiao and even his poetry friend Huang Tingjian, all of which were vivid. The diversified aesthetic taste of "short and fat, each with his own plans, who dares to become a monk when Yuhuan flies" (Sun Xin's Poem of the Old Man Seeking a Wonderful Pavilion) enables him to appreciate various styles and tendencies. Su Shi paid special attention to the fusion of two opposing styles, so when commenting on other people's poems, he put forward the terms "Qingyuan Li Xiong" and "Qing Xiong Jue Su". Su Shi pays great attention to the mutual infiltration and adjustment of masculine beauty and feminine beauty in his creation. Undoubtedly, the dominant style of Su Shi's poetry is bold and unconstrained, and some of his works even have the shortcomings of bold and unconstrained. However, there are many excellent works in Su Shi's poems that combine rigidity with softness, thus showing the style of "Qing Xiong", such as "You Jin Shan Temple":

The river in my home originated in the early days, and the official tour went straight to the sea. It is said that the tide is ten feet high, and it is cold and there are sand marks. Shipantou on the south bank of Zhong Ling has had stormy waves since ancient times. Strive to climb to the top of the country, and there are many green mountains in the north and south of the Yangtze River. Afraid to go home at night, the monk stayed to watch the sunset. The breeze is boundless, the boots are thin, and the fish tail is red. At that time, Jiang Yue was born, and the second watch was dark. The river is like a torch, and the flying flame shines on the birds in the mountains. I don't know what I'm doing, but I'm not a ghost or a person! Jiangshan is so reluctant to go back to the mountain, and Jiang Shen is so surprised and stubborn. I am the god of Xie Jiang, and I can't return to my land like a river.

The description is meticulous and clear, but the brushwork is soaring and the image is wonderful. Melancholy and natural and unrestrained manner are integrated, revealing heroic spirit, which typically reflects the style characteristics of Su Shi's poems.

The late Northern Song Dynasty, represented by the "Yuan You" poetry circle, was the heyday of Song poetry, and the creation of Wang Anshi, Su Shi, Huang Tingjian and Chen Shidao pushed the art of Song poetry to the peak. The prominence and distinctiveness of Wang, Huang and Chen's poems in style and personality may be more striking than Su Shi's poems. But in terms of creative achievements, Su Shi is undoubtedly the first poet in the Northern Song Dynasty. Su Shi's poems are outstanding in the dimensions of wide subject matter, diverse forms and profound emotional connotation. More importantly, Su Shi has a strong artistic compatibility, and he did not push a certain style to the status of a statue in theory and creation. In this way, although Su Shi made great contributions in the process of creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry, namely, sharpness and dullness. Therefore, Su Shi surpassed his contemporaries in overall achievement and became the most popular poet in the Song Dynasty.

Viewing the development of ci from the whole ci: the method of taking poetry as ci reflects the diversity of ci style.

Su Shi has also made extraordinary achievements in the creation of ci. As far as the development of a style itself is concerned, Su Shi's historical contribution has surpassed Su Wen and Su Shi. After Liu Yong, Su Shi carried out a comprehensive reform of ci style, and finally broke through the traditional pattern of "Ke Yan", improved the literary status of ci, changed ci from an accessory of music to an independent lyric style, and fundamentally changed the development direction of ci history.

The transformation of Su Shi's ci is based on his concept of ci and his creative idea of "being unique".

Ci has been regarded as "Tao" since the late Tang Dynasty and the Five Dynasties. The poet Mo Ke just wrote lyrics with his spare capacity and game attitude, and after writing, he "swept away the traces and made waves" (see Hu Yin's Preface to Xiang Ziyin's Wine Collection). The position of Ci in the minds of the literati in the early Song Dynasty was "the skill of the square, lacking depth" (ibid.), which could not be equated with poems that "embody the Tao" and "express the will". Liu Yong devoted his life to the creation of ci, which promoted the development of ci style, but failed to improve the literary status of ci. This task needs Su Shi to complete.

Su Shi first broke the concept that poetry is superior to ci in theory. He believes that poetry is homologous, and the word "is the seedling of poetry". Although there are external differences between poems and words, their artistic essence and expressive function should be the same. Therefore, he often compares poems with words, saying Liu Yong's famous sentence in Klang Ganzhou: "This sentence does not reduce the height of Tang people in poetry" (see Backstreet Record, Volume 7), and praises Cai's "new words, this ancient poem is also long and short" (with Cai Shu). Because he raised the word to the same position as the poem from the stylistic concept, it provided a theoretical basis for the word to move closer to the poetic style and realize the mutual exchange and infiltration between the word and the poem.

In order to make the aesthetic taste of ci really keep pace with poetry, Su Shi also put forward the creative proposition that ci should be "one family". He said in Tongxian: "Jin is a rather small word, although it has no taste of Liu, it is also a family. ..... quite spectacular. " The theory of "being a family" here is put forward according to the different "lasting appeal" of Liu Yong's ci, and its connotation includes: pursuing magnificent style and broad artistic conception, ci should conform to people's quality, and ci should express its true temperament and unique life feelings like writing poems. Because only in this way can we "write like a man" in the creation of Ci (Answer to Zhang Wenqian's immortal book). Su Shi always pays equal attention to integrity in his articles, but he opposes conformity in literature, so he is not satisfied with Qin Guan's "learning Liu Qi's words" and lacks "integrity".

Expanding the expressive function of ci and opening up the realm of poetry is the main direction of Su Shi's ci style reform. He extended the traditional expression of women's gentleness to the expression of men's pride, and extended the traditional expression of love to the expression of temperament, so that words can fully express the author's temperament embrace and personality like poetry. Sean Song's Notes on Ancient and Modern Ci said that Su Shi "wrote poems with affixes, while Yuan Haowen, a Jin scholar, thought Dongpo's Ci was" beyond emotion and didn't know there were words "(Preface to New XuanYuefu). Such as Song Shenzong Xining seven years (1074), write "Qinyuanchun, Mizhou, leave early, immediately send the child":

The lights in the lonely hall are green, the number of chickens in the wild shop is small, and the dream of traveling pillow is broken. Gradually the moonlight will practice, and the morning cream will be bitter; Yunshan is full of brocade, and the morning dew is dew. The world is infinite, and labor and life are limited, which seems to be the happiness of this area. Whispering, I am speechless with Saddle, and the past is a thousand times. At that time, * * * guest changan. Like a teenager from two places. It's hard for you to write a thousand words and have thousands of books in your heart. When you use reasons, you can hide in me. Why not sit by and watch? He was healthy, but he died when he was 10. He fought for the former.

It not only shows his ideal of life as a gentleman, but also shows his high-spirited, heroic and confident spirit when he was young, and also reveals his complicated life feelings after his middle-aged career was frustrated. Later, the book "Jiang Shenzi Hunting in Mizhou", written in Mizhou, showed his great ambition to gallop the battlefield and lead a country:

I am a teenager. Left leads to yellow. Right green. Golden hat, mink and fur, thousands of riding rolls and leveling posts. In order to repay the people of the whole city for following my generous hunting proposal, I will shoot this tiger myself like Sun Quan. The wine is full and the box is still open. There is a slight frost on the temple. What are the disadvantages? Hold a festival in the clouds, when to send the phoenix hall. I will make my strength as full as the full moon, full as the full moon, heading northwest and shooting at the team in West Xia Jun.

This realistic hero image of "shooting tiger" and ideal hero image of "bending bow" and "shooting sky wolf" further changed the poetic pattern with Pink Lady and Qi Zuozi as the main lyric heroes after Fan Zhongyan's "Fisherman's Passion". Su Shi let ambitious people full of enterprising spirit, lofty ideals and passion into the world of ci, changed the original feminine artistic conception of ci, and set a precedent for new poets in the Southern Song Dynasty.

Su Like's poems and Su Shi's poems often express his thoughts on life. When Su Shi was in Xuzhou, he realized that "ancient and modern dreams are like dreams, but there are old joys and new grievances" ("the moon is like frost" in "No Music"). After the "Wutai Poetry Case", the sudden change of life fate made him more truly and profoundly realize the hardships of life and the changes of fate. More than once, he lamented "Life is like a dream" (Nian Nujiao's Red Cliff Nostalgia), "Laughing hard gives birth to a dream" (intoxicated with Penglai), "Everything is a dream in the end" (Nanxiangzi's heavy wine Han Hui Lou presented Xu Junyou) and "The Dream of the World" (Xijiangyue). The so-called "life is like a dream" not only refers to the limited brevity of life and the illusory and changeable fate, but also refers to the uncontrollable dream of fate, that is, the word "I hate this body for a long time" in Linjiang Xian (waking up after drinking Dongpo at night). This rational thinking on the fate of life has enhanced the philosophical meaning of ci.

Although Su Shi deeply felt that life was like a dream, he did not deny life because of it, but tried to pursue self-detachment, and always maintained a tenacious optimistic belief and a detached and adaptive attitude towards life:

Don't listen to the sound of beating leaves in the Woods. Why not sing and walk slowly? Bamboo poles and shoes are lighter than horses. Who's scared? A raincoat and hemp fiber, despite the wind and rain, still live my life. The cold spring breeze woke me up. Slightly cold. The hillside is sloping, but it is pleasant.